Poetry First Edition Soft cover, perfect binding 232 pages Texts in English   New       EUR 24 ORDER

Ariana Reines, Mercury, Fence Books, 2011

"Composed in the direct, accessible, consciousness-piercing style of which readers of Ariana Reines’ first two books are wildly enamored, Mercury comprises a group of long poems. These interlocking works speak to the substance and essence of what is said, transmitted, transacted, “communicated” between persons. Reines proposes that substance and essence are opposites, and explores this in contexts including commercial cinema, the nation-state, currency, alchemy, and internet porn."

Poetry First Edition Soft cover, perfect binding 94 pages Texts in English   New       EUR 22 out of stock

Ariana Reines, Coeur de Lion, Fence Books, 2011

Coeur de Lion is a book-length epistolary love poem that directly addresses a recently lost “you”—in accessible tones yet with extreme erudition and fierce intellect—but that also directly addresses the work of poetic address, how it shifts when the you shifts from a literal recipient, through loss, to poetry itself: art form, tradition; soul-catching medium. It’s libidinal, heartful, hot with the memory of what was libidinal and heartfelt and hot. It’s also a cult classic: self-published in 2007 and available now to an audience who will recognize the deep influence it has had on contemporary poets and poetry.
“Lines that make me want to have sex on the moon.” —Thurston Moore

Poetry First Edition Soft cover, perfect binding 106 pages Texts in English   New       EUR 21 ORDER

Ariana Reines, The Cow, Fence Books, 2006

To call Ariana Reines’ poetry scatological doesn’t even scratch the surface. “I COULD BE A DIAPER FOR THE DAY’S RESIDUALS,” she writes, and, “She clasped the event to her and proceeded. Fucked her steaming/ eyehole and ended it.” The Cow is a body in the way that texts are bodied—”Are you so intelligent your body doesn’t have you in it.”—but not in the way that allows the text to become desensitized, depersonalized, sterilized. Instead this text is filthy and fertilized, filling and emptying, filling and emptying, atrocious and politic with meaning. The Cow is a mother, a lover, and a murdered lump of meat, rendered in the strongest of languages. “I cannot count the altering that happens in the very large rooms that are the guts of her.”
Winner of the 2006 Alberta Prize

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